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Montaigne on Love  

Elizabeth Guild

Print publication date:
Nov 2016
Online publication date:
Dec 2015

... Declarations of Love I love all kinds of sauces 51 I love good smells 52 I love poetry 53 I love poetry … infinitely 54 I love Paris 55 I love life 56 I love simple, natural speech … I love … words which soften and moderate the rashness of our propositions: “perhaps” … “I think,” and the like.” 57 Not an exhaustive list; Montaigne is liberal with such declarations of love, particularly for words and their seductive, enlivening, quickening force; he loves to be in communication. But he declares his love for human beings less readily...

Politics, Imagination, and Desire in the Work of Fulke Greville  

Freya Sierhuis

...Teacheth time to tunne away: Let no Love-desiring heart, In the Starres goe seeke his fate Love is only Natures art, Wonder hinders Love and Hate. No can well behold with eyes , But what underneath him lies By demystifying courtly love, Greville effectively frees up a space for love as “nature’s art,” a love that is free from stifling conventions and from the straightjacket of fictions that are mere externalizations of mental fixations. (“Sweet Saint ‘tis true, you worthy be,/Yet without love nought worth to me” ( Caelica LII). Love, Greville knows as a good Calvinist...

National Identity, Nationalism, and the Catholic Church  

Steven Grosby

Online publication date:
Jul 2016

...and 11; rather, it is how the Church understands nationality. Do the (natural) love for one’s country and the supernatural love for God proceed from the same principle, since God is the organizing cause of both, as may be biblically based on Genesis 10, but seemingly not Genesis 11? Is there a relation between the nation and the divine such that the source of the love for one’s country springs from the love of God; or is it that the love for one’s country ought to be founded on the love of God? Or is it the case that recognition of the true, universal community of...

Finding the Balance: Pantomime and Dance in Ratmansky’s New/Old Sleeping Beauty  

Doug Fullington

Online publication date:
Aug 2017
Subject:
Music, Dance

...takes [her hand] and they walk. He: I love you. I swear. She: Wait! Come here. Walks toward flowers. Picks up a few white daisies. [She] lures him. She sits down on the bench. He stands and his left foot is on the edge of the bench. He watches her. She begins to guess: Loves me, doesn’t love me…. The last petal is doesn’t love me. She drops the flower and cries. Albert consoles her and says Look! He takes another flower and does guessing and his last petal is loves me. She is delighted he loves her. She runs away. [ Allegro non troppo...

Ballet Bawdies and Dancing Ducks: Jewish Swans of the Silver Screen  

Hannah Schwadron

Online publication date:
Jan 2017
Subject:
Music, Dance

...usurping those stereotypes in the name of moving somehow beyond them. The classic swan’s failed dreams of love are ones that Brice and Streisand say a Jewish swan could never truly have to lose. The ballet’s famed curse is thus construed with Jewish meaning: a funny girl lives and dies without love. In both films, financial authority figured by stage success presents outspoken Jewish femininity that can only fall from grace. And yet the joke soloist, in making love to audiences and receiving it back, finds herself otherwise alone. Head of her own flock, she is a soloist...

Affect and Emotion in Greek Literature  

David Konstan

Online publication date:
Oct 2015

...is more, love is selfless and seeks nothing in return: there is no mention of reciprocity. Friendship, as Aristotle makes clear, exists when two people love each other, and each is aware of the other’s sentiment; but each one’s love is altruistic rather than self-interested. Aristotle’s account is no doubt idealized, capturing the essential nature of love rather than the compromised forms in which it exists in real life, but it provides, I think, a good indication of what Greeks thought love to be. Aristotle illustrates the primacy of love over being loved with reference...

Manuscript and Print, 1500–1700  

Christopher Burlinson

Online publication date:
Jun 2016

...which they have presented their texts. 34 Harold Love’s monumental edition of the works of the Earl of Rochester, for instance, begins with a statement about textual history that stands Bennett and Trevor-Roper’s misunderstanding on its head: “what we possess is a body of contemporary manuscripts,” Love writes, “some made by private readers and some by professional scribes, with a much smaller number of unauthorized, and generally inferior, printed texts taken from fortuitously encountered manuscripts.” 35 Love’s editorial solution (for the majority of Rochester’s...

Rescoring Anything Goes in 1930s Hollywood  

Allison Robbins

Print publication date:
Aug 2019
Online publication date:
Jul 2019

...conferred with his heart about his feelings for Hope and then professes his love to her. Robin’s rhymes ( charms - arms , start - heart , and true - you ) are predictable, but nonetheless, the song is a bit coy. His heart, defined as a separate entity, gives Billy a team member of sorts; he never has to sing the vulnerable phrase, ‘I love you,’ and instead can couch his feelings with the phrase, ‘We’re so in love with you.’ By contrast, Porter’s song is more suggestive in its depiction of love and reveals the significance of the phrase ‘all through the night’ only at...

The Nature of Linguistic Variables  

John Collins

Online publication date:
Nov 2014

... (1) Frank loves Ava To understand the logic of (1) involves understanding the sentence as positioned within a space of entailment relations; in particular, (1) may be viewed as an instantiation of a range of generalizations. For example, on the assumption that Frank and Ava are names of objects, (1) is true given the truth of any of the sentences in (2): (2) a Everyone loves Ava b Frank loves everyone c Everyone loves everyone Similarly, if (1) is true, then all of the sentences in (3) are true: (3) a Someone loves Ava b Frank...

Word and Image in the English Renaissance  

Claire Preston

...facing p. 57). Spenser’s Colin Clout articulates the vividness of such decorations (probably tapestries or frescoes with Ovidian themes) when he describes his otherwise rather disappointing visit to the Elizabethan court: Love most aboundeth there. For all the walls and windows there are writ All full of love, and love, and love my deare, And all their talke and studie is of it. 9 In addition to domestic decorations, the emergence in the mid-sixteenth century of natural histories, herbals, apothecarial works, and natural-philosophical and medical treatises...

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